Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Korea North and from Bremen.
But I was there.
I was there in 1979.
I was there at the first Second Layer show in South London.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1969 to 1979.
I'm losing my edge.
To all the kids in Sao Paulo and Sao Paulo.
I'm losing my edge to the art-school Mumbai kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1979 at the first Second Layer practice in a loft in South London.
I was working on the rhodes sounds with much patience.
I was there when David Bowie started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Gregory Isaacs to the funk kids.
I played it at Cafe Wha.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by the Sonics. All the underground hits.
All Pussy Galore tracks. I heard you have a vinyl of every Jawbox record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '90s.
I hear you're buying a clarinet and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Nick Cave & The Bad Seeds record.
I hear that you and your band have sold your harpsichord and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a harpsichord.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Siouxsie and the Banshees,
Unwound,
Buzzcocks,
Joey Negro,
Altered Images,
Kool G Rap & DJ Polo,
Oneida,
DNA,
John Cale,
Monolake,
Johnny Clarke,
the Soft Cell,
Robert Hood,
Lizzy Mercier Descloux,
Sparks,
Absolute Body Control,
Franke,
the Swans,
It's A Beautiful Day,
Pulsallama,
The Moleskins,
Roger Hodgson,
Robert Wyatt,
Bobby Womack,
Zapp,
Neu!,
Aaron Thompson,
AZ,
Bill Near,
Yusef Lateef,
Louis and Bebe Barron,
Marmalade,
Stiv Bators,
T. Rex,
Vladislav Delay,
Skaos,
Howard Jones,
Wighnomy Brothers & Robag Wruhme,
Quadrant,
Rhythim Is Rhythim,
Audionom,
KRS-One,
Lightning Bolt,
Interpol,
the Slits,
Minnie Riperton,
Quantec,
Mission of Burma,
OOIOO,
Maurizio,
Super Lover Cee & Casanova Rud,
Teenage Jesus and the Jerks,
Y Pants,
Kayak,
Anthony Braxton,
Matthew Halsall,
Strawberry Alarm Clock,
Cameo,
The Mummies,
Roxy Music,
The Moody Blues, The Moody Blues, The Moody Blues, The Moody Blues.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.